NancyJohnson

It does seem a bit insane to 'liquify' shipments without making an effort to return to sender; if that's the truth, then jeepers. Words kind of fail me here. It would be interesting (just from a point of perspective), to know whether this is a rare instance or normal practice. Can you imagine the tangible loss of the GSP destroying a true one-off, something rare/vintage (I seem to recall a 'priceless' violin going into a crusher, here) or prototype because it was oversized or too heavy?

I've bought several units through John's website without any issue, just worth considering that he doesn't offer a next day service. I spoke with him last year about an issue and the inference during the call was that the business operates 100% hands on and he's over everything. Probably needs to take someone on to handle admin/payments/despatch. Not wholly certain whether he keeps stock of everything or simply manufactures on an ad-hoc basis.

I understand how loop pedals work but not exactly the tech behind how the multitracking syncs up. I've always thought of these units as limited in that you can only add loops; you make a mistake and that error is there until you stop. I think the first time of seeing these things in action was seeing KT Tunstall on Later... (for the record, she played Black Horse and The Cherry Tree Even against her label's order, the rest is history, I suppose).

I think there were always bands that seemed to be playing at every gig you went to...Girl were a bit like that. You know that Andy Prince/CN is a member here? His brother Victor played drums in a couple of things I was involved in at college in the late 70s.

I would wholeheartedly recommend some of the stuff band members have recorded elsewhere. Nathan Larson is the way to go; he recorded as Mind Science of The Mind (quirky angular post-hardcore) and the quite wonderful Hot One (kind of 70s influenced glam-metal, very sweary); there's also a white-soulboy solo record called Jealous God. He's also written three excellent books too (The Dewey Decimal System, The Nervous System, The Immune System). Craig Wedren's is seemingly carrying the STT with his solo work. It's all nice and weird.

I've adored Shudder To Think for 25 years. This footage is an unedited thing from MTVs 120 Minutes. I just adore the silence and then the power. This is arguably the best line up, Nathan Larson on guitar, Adam Wade on drums. Stuart Hill is a highly underrated bassist. You're going to either love or hate Craig Wedren's falsetto vocals; there's no median. This clip is 28 minutes of joy for me...

If you like things built out of old skateboards, check out Woby Design on You Tube. Until very recently he operated out of a shipping container in Los Angeles. He makes some wonderful stuff.

I gigged mine twice, both times someone tried to make off with it. I do have a little chuckle that I'd gig with basses worth two or three times the 4003, but because these people don't know what they are, perhaps they aren't coveted like the 4003. I heard two blokes talking when I played this sh*thole in Kent...I gave my Hamer FBIV (value, £3k+) an outing; I heard one guy say, 'What bass is that bloke using?' The other guy answered, 'It looks like a Thunderbird knockoff.' Which, I suppose, is what it is.

Nope. But then, given John Hall's seemingly tight grip on things, I doubt whether things will change until he retires. Perhaps Rickenbacker are simply happy with the quantity of instruments they manufacture and the price they sell for; maybe their company ethic just doesn't call for making huge profit.

Just reading through this thread is giving me pangs of desire for a 400* again. Despite the instrument's minor failings (neck profile, the treble pickup bezel/surround, that effing monstrosity of a bridge, the high visibility/theft issue), it does sound fantastic.

I paid less than half that for a pretty minty one. I'd jump at another one, but that one isn't worth a 1/6th of the selling price, even if the neck can be salvaged.

Just makes me a bit sad, TBH. Look at the action. £1.2k! No case, no plate, action about an inch, rotten paint. Sigh. https://www.ebay.co.uk/itm/Hamer-Cruisebass-Electric-4-String-RH-Bass-Guitar-1982-Made-In-USA-/203499749174?_trksid=p2349624.m46890.l6249

Away from the gig experience, I'll focus on the stuff I don't like. If gigs are some distance, I hate the journey there and back. Also, if the headliner is on for less time than the journey there, I make a mental note of that, too. If it's a standing gig, at 6'4", I detest hearing people behind me saying they can't see. I'm sorry, I'm tall. Get over it. People! Stop talking or watching the gig through your phone. Also, to all the idiots that don't attend many live shows, the act of putting on a leather jacket and jumping into random people because 'that's what you do at gigs, innit?' needs addressing, because sir, 'If you knock my wife over again, I will punch you to the ground, you fecking asshat.'

Game of Pricks, My Vitriol. I had no idea it was a Guided By Voices song.

I know most of us have a vested interest in this album, either because of his dad's band or him playing in his dad's band, it's interesting that my wife - who comes into the rock area via Ash, The Cure and Motion City Soundtrack - listened to it, genuinely enjoyed and didn't know who it was until until Distance came on. It is a lovely album. I wish it were longer and there were more albums like this out there.

Probably not everyone's cup of tea, but he's revealed he's got (an unspecified) cancer and has been receiving chemo for three months.

I've owned an Aerodyne Jazz and a Geddy Lee, no particular issues with them, but just not for me. I also ran a truly terrible 1979 Precision for about ten years, so you could say I've at least worn the t-shirt. I can't best answer why I repeatedly went back to Fender, I'd say price was the overriding factor; the belief that you're getting a lot for your £££ I suppose. I'm uninterested in reviews, mark that down as a personalty trait. The Geddy was the last one, nice enough but a bit meh, I think I paid £650 for that. I suppose I've never been a fan of playing what everyone else is playing either (there were two Flea basses at one gig I did), nor am I enamoured with the constant reissuing/repetitive manufacture of the handful of core models that Fender (etc.) make. I'm lucky enough to have a half dozen basses, four of which are off makers who were/are known for smallish production numbers along with a couple of more mainstream models. There's no bee in the bonnet thing going on; I've just reached a point where I've come to realise that people are fiercely defensive of their kit; 'My Epiphone/Squier is better than any Gibson/Fender I've played,' while at the same time they're putting Gibson trussrod covers on these or sanding off the Squier transfer for a Fender decal.

Thank you for allowing me an opinion, otherwise I'd just be a sheep and follow the herd. I note however, that you've 'not played a bad MIJ Fender', although you're not supporting that claim by giving comparison to anything else (for instance, a truly terrible MIJ may still be a country mile better than some of the kit I started out on). Interestingly, you've not made any comment as to saying how these basses sound (*subjective), only mentioning initial pricing an the maintaining of their value in the secondhand market. I'm sure the Duff and Nate models are decent enough, but just because someone's review opinion of something is 'excellent' doesn't make it a wonderful thing.

I just don't get all this <insert year> reissue or Signature-range stuff. I've played a handful of vintage instruments and to be honest they were nothing to write home about, age aside, I'd say they were probably worse than a new instrument. Ponky. People seem too enamoured with colour/wood choices in the belief that this makes for a better instrument. Once it's painted up, nobody would be able to tell whether something is mahogany/ash/basswood. It's all s big con, I tell ya! 😄

The one foreign language track I adore is Pokusaj by Elvir Lakovic Laka - it was the Bosnia & Herzegovina Eurovision entry in 2008. I have it on a huge mixed Spotify playlist and it just lifts my heart everytime it shuffles into play. It's 100% mental. These two are brother and sister, too. Enjoy!

I could watch that all day. Mesmerising.

His Guitar Build Off 2021 was one disaster after another and I am tiring of the whole desire to do different ethic. There's no doubting he knows his shizz, but the thing he just finished seemed to be more about him getting out of unnecessary situations rather than making something decent. Just build a stunning guitar, just stop trying so hard to break with convention.

Show day WFH today, so it's the deluxe of UFO's Strangers In The Night. On shuffle, mind.

I'll admit I'm a little obsessed with trawling You Tube for guitar repair/build content; these Lignum videos are a joy when compared to the lengthy Crimson ones.

I'll pop this is the build area; I've been following these guys on You Tube for a while - their carpentry work extends beyond basses, but if you enjoy a bit of watching CAD design make guitars, this is a joy.